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In 1831, Victor Hugo wrote what would be considered one of his most memorable literary works, Notre-Dame de Paris. When it was translated in 1883, it became known as The Hunchback of Notre Dame, the title by which it and most subsequent adaptations are known by. The first film adaptation was a French short in 1905, Esmeralda, named after the main character of the story. Despite being named in the title of the English translation, the hunchback Quasimodo was often considered a secondary character. This remained true for three more silent film adaptations but changed forever when Universal released their adaptation, The Hunchback of Notre Dame, in 1923. The credit for Quasimodo’s rise to prominence rests completely on the legendary skills of make-up artist and actor Lon Chaney.

By the time Lon Chaney was hired for the role of Quasimodo, he was an accomplished actor on the verge of the prime of his career. At age 40, he had been acting in films since 1912 and while he had numerous successes, such as The Penalty, Oliver Twist and The Shock, The Hunchback of Notre Dame would elevate his career to new heights. There are countless reasons why this version remains such a timeless classic but the make-up work of Lon Chaney clearly stands out. He was the favorite to play the role from the beginning and Chaney himself was highly interested in playing Quasimodo. While the expansive sets were astounding and the large cast gave an epic feel to the production, Chaney owned the film from his first few seconds on screen.

While the character of Quasimodo is often considered a horror character alongside such true monsters as Dracula or the Mummy, he’s actually a very sad and tragic human being. Chaney’s make-up work is perhaps the most horrific version of Quasimodo and adds to the desire for many to place him in a rogue’s gallery of monsters. But Chaney also gave life to Quasimodo through his sympathetic performance, amplified by his acrobatic skills. Yet, there is no denying that when his shirt is ripped off and his hairy humped back and disfigured body is displayed for the first time, audiences will openly gasp. While Patsy Ruth Miller is good as Esmeralda and Brandon Hurst is truly evil as Jehan, Quasimodo’s master, Chaney’s performance outshines them all. The audience is engaged in his story from his first moment on screen to his unfortunate end in the final moments of the film.

Chaney would go on to make another 20 films over the next seven years, including many of most famous roles, including that of the lead in The Phantom of the Opera in 1925. Sadly, the world would lose Chaney in 1930 to lung cancer. Thankfully, many of his films remain with us, including The Hunchback of Notre Dame, which was restored in 2007 and released on Blu-ray by Flicker Alley in 2014.

While Chaney’s portrayal of Quasimodo was legendary, RKO Pictures would attempt to make their own fortune with the character some nine years after Chaney’s death. Charles Laughton would be the primary star for this version with make-up work by Perc Westmore. This Quasimodo is nowhere near as horrific, which may have helped in him being more appealing to the audience. However, with less acrobatics and over-the-top theatrics, Laughton just never comes close to stealing the film as Chaney did. Furthermore, the script really shifts the focus to Esmeralda (Maureen O’Hara) and is much more of a romantic tale than one of adventure as seen in the 1923 version.

The characters of Claude and Jehan Frollo were once again changed from the original novel due to concerns about having the main villain being a priest. In the novel, Claude was a villainous archdeacon while here he is the almost saintly archbishop. Likewise, Jehan was portrayed as a drunken teenage student in the novel but here he is the middle-aged villain. Another key change is the stronger focus on the plight of the gypsies, which may have been in direct reference to what was happening to the Jewish people in Germany at the time. Despite these changes, both versions of the story don’t suffer and, perhaps, are even improved by the revisions.

However, the 1939 version does make one key change to the plot that greatly changes the ending of the story. Quasimodo’s death in the 1923 version is powerful but RKO opted for a happy ending to the story and allowed Quasimodo to live. Granted, the image of him atop Notre Dame commenting on how he wished he was made of stone is somewhat sad, the fact that he lived is a drastic departure from the original story. It doesn’t necessarily ruin the film but it did take away what I feel was a more impactful ending as seen in 1923. You can judge for yourself as the 1939 version is currently available on Blu-ray from Warner Brothers for less than $15.

Ultimately, I feel the 1939 version is a watered-down adaptation when compared to the 1923 Chaney film. While the RKO production is more polished, it was almost too clean at times, a feeling I often have whenever I watch MGM’s 1938 adaptation of A Christmas Carol. Personally, a grittier presentation is much more appealing and, when considering the softer and more romantic ending seen in 1939, I ultimately feel the Lon Chaney adaptation is superior. Both are lavish productions but it comes down to personal preference. However, with personal opinions aside, each has something to offer that many modern films are lacking…heart and compassion. No matter how monstrous Quasimodo may appear, you cannot help but feel for him as the world around him spins out of control.

There have been many other adaptations throughout the decades. From Anthony Quinn in 1956 to Anthony Hopkins in 1982, the tale of the gypsy girl Esmeralda and the hunchback Quasimodo remains timeless. With Disney announcing a live-action remake of their 1996 animated version, it appears as if Quasimodo will continue to ring the bells of Notre Dame for many years to come.

Let’s kick off the new year with some laughter and a few scares as Jeff and I fire up episode 26 of the Classic Horrors Club Podcast. This month, we take a look at Bob Hope in The Cat and the Canary (1939) and The Ghost Breakers (1940) before wrapping it up with Dean Martin and Jerry Lewis in Scared Stiff (1953)!

The Kansas City Crypt is open again as the new year begins and this month on episode 51 of the Mihmiverse Monthly Audiocast, the Monster Movie Kidtakes a look back at 2018. It was a great year for watching classic flicks on the big screen and it’s time to reflect on the best moments of the last twelve months.

Be sure to check out the online home of the films of Christopher R. Mihm for all of the great merchandise and information on how you can help make future films happen! Queen of Snakes is coming in 2019 and That Which Lurks in the Dark has just been announced. Check out the website to learn how you can contribute to the making of both upcoming chapters in the Mihmiverse. As always, tell ’em Monster Movie Kid sent you!

2018 is in the books and what a year it was. It was a great year full of opportunities to watch older films on the big screen at events like the Kansas Silent Film Festival, Silents in the Cathedral and Cinema a Go-Go. Unfortunately, I missed out on Monster Bash and the annual ​Christopher R. Mihm film premiere but plans are afoot to correct that in 2019.

Jeff Owens and I continue to improve each and every month on the Classic Horrors Club Podcast. I also continue to contribute to the Mihmiverse Monthly Audiocast with the Kansas City Crypt segment along with my reviews on the Dread Media Podcast. I also made a return to the B Movie Cast and found time to leave some voicemails over at Monster Kid Radio. All of these bring me great joy!

Now, let’s take a look at those 2018 statistics.

How many films did I watch in 2018?

Action: 7

Animated: 38

Comedy: 40

Documentary: 8

Drama: 12

Fantasy/Horror/Sci-Fi: 215

Musical: 4

Mystery/Thriller: 5

War/Western: 3

Total films watched: 332 (quite a bit more than last year’s 248 and tying my total back in 2010 but still not quite the all-time record of 452 in 2012)

Movies Watched in a Movie Theater: 59 (32 new and 27 old; second highest total but way down from 79 last year)

Now, it’s time for the official best-of-the-best and worst-of-the-worst. As with any list, they’re subjective to my viewing experience and mood at the time. Enjoy them and maybe you can get a few suggestions along the way.

1. A Wrinkle in Time (total misfire and a disappointing adaptation)
2. Suspiria (Style over substance, I liked a few elements but just didn’t enjoy it overall)

Top Ten Movies Seen on Home Media for the First Time

1. The Lost World (1925) (my first time seeing the restored version)
2. Day of Anger (1967)
3. Hostiles (2017)
4. Coco (2017)
5. The Christmas Chronicles (2018)
6. Return of the Fly (1959) (always thought I saw this but realized I never watched it all)
7. Santo en el Museo de Cera (1963) (I watched a lot of Santo this year but this remains my favorite)
8. A Knight’s Tale (2001) (I know, late to the party)
9. Jodorowsky’s Dune (2013)
10. Guns of the Apocalypse (2018)

Looking ahead to 2019, I’m excited about Glass, all three main movies coming from Marvel (Avengers: End Game, Spider-Man: Far From Home and Captain Marvel), as well as Stan and Ollie. Of course, there’s also Godzilla: King of the Monsters, Toy Story 4, It: Chapter Two and Star Wars: Episode IX, just to name a few. I also plan to revisit the Marx Brothers films this year along with Laurel and Hardy, as well some 007, Zatoichi and there’s always my Hitchock journey, which continues to haunt me.

Happy New Year’s everyone! Thank you for your support! Here’s to what awaits us at the cinema in 2019!

Christmas dinner may be over but there’s always room for some leftovers. This week on episode 591 of the Dread Media Podcast, I take a look at what happens when the holiday dinner isn’t quite what the guest expected it to be. Tune in for my thoughts on Mercy Christmas (2017) and, as always, tell ’em Monster Movie Kid sent ya!

Every Christmas season, I will watch and listen to multiple versions of the Charles Dickens classic tale, A Christmas Carol. That said, the bar is set high for whenever I listen to a new version. For movies, Alastair Sim is king as Scrooge (1951) is the definitive adaptation. For audio, nothing surpasses Lionel Barrymore in the Campbell Playhouse presentation from 1939 that features Orson Welles and his Mercury Theatre Players. That said, I finally listened to one of the most recent audio plays that was released last year from Anthony D.P. Mann’s Bleak December and what a holiday treat it was.

I’ve been singing the praises of Bleak December ever since I heard the first words of Tony Todd’s performance as Count Dracula. Anthony has hit gold with his Bleak December productions and I know of his lifelong passion for A Christmas Carol. So, it’s no surprise that it’s present here in a full-cast production. Sylvester McCoy (Doctor Who, The Hobbit trilogy) headlines the cast as Ebenezer Scrooge and turns in an amazing performance. His compassion shines through a little earlier than other Scrooge’s but with a 45-minute running time, the tale has to move along at a brisker pace. I was also pleased to hear Anthony himself appear as Jacob Marley’s ghost. What a dream come true for him as I know he’s a big Doctor Who fan and he can now boast having worked with two former Doctors in three different productions. He was great as Jacob Marley.

I’m unsure of the rest of the cast but everyone did a fantastic job. I loved how the tale was told in the abbreviated time frame without really missing any major elements. Yes, Scrooge’s nephew doesn’t appear but every adaptation has variations, which makes the adventure of watching or listening to them all that much more fun. I was surprised to hear how the Ghost of Christmas Present is portrayed. I’ve always heard or seen him as a king-like figure but here he’s in the form of a cab driver. I enjoyed it for being something different and it left me curious as to Anthony’s reasons for presenting him that way. The only change I might have suggested was the introduction of a narrator but given the format, that might not be appropriate. Also, McCoy provides some narration of a sort through his mumbling throughout. In the end, the lack of a narrator doesn’t really hurt the production at all.

Special recognition must go to Brent Holland for a stunning score. I’ve heard great casts be let down by the lack of a good score but not here. Holland’s score enhances the presentation and elevates it to the next level.

I cannot highly recommend Bleak December’s production of A Christmas Carol enough. I purchased it too late in the season last year and I’ve been anxiously waiting to listen to it this year. My wife Karla and I listened to it as we drove around looking at Christmas lights. She loved it as well and we both agreed that this will now be part of our annual to watch/listen list every Christmas. Unfortunately, the limited edition vinyl from Cadabra Records sold out to subscribers before it was available to the public but it is still readily available through Brilliance Audio. Add it to your Christmas list today!

There are quite a few films out there where we’ve been given a glimpse of Santa’s operations at the North Pole. The Santa Clause trilogy was especially fun (well, the first two at least) and Fred Claus seemed heavily inspired by that vision. So, when I heard Netflix was making a Christmas film where Santa is stranded on Christmas Eve and the Christmas spirit is waning, I wondered why they would attempt a retread of a familiar theme. Then, I heard Kurt Russell was in the lead role as Old Saint Nick and I knew this was going to be something different.

The Christmas Chronicles (2018) is indeed the gift we didn’t know we were wanting as Russell turns in a very fun performance as Mr. Claus. Now, his version isn’t fat nor does he go Ho Ho Ho. But he does travel around the world in one night, spreading the spirit of Christmas while delivering presents and making magic happen. And that magic is needed in the lives of Teddy and Kate Pierce. It’s been a rough year for them as they lost their firefighter dad and mom is working hard to keep everything afloat. As a result, Teddy is on the bad list but younger sister Kate hasn’t given up hope.

As she’s watching old family videos, she discovers a mysterious blur in the background. Could that be Santa? She enlists the help of her brother in an effort to capture Santa. But, the plan goes astray when they actually see him and, inadvertently, get stuck in his sleigh. After scaring Santa half to death, the reindeer are let loose, the presents fall off and Santa’s magic hat is missing. The result is a story we’ve heard before. The Christmas spirit is dropping and unless Santa gets those presents delivered, things could go dark.

But here is where the movie shines because Kurt Russell is allowed to make the role his own. This Santa is a bit more cutting edge, he sings and loves to drive…fast. Now, he’s still afraid of Mrs. Claus but he’ll do what it takes to get the job done. Enlisting the help of Teddy and Kate, there may be hope for Christmas yet. With Russell turning in a film-stealing performance, he does outshine Judah Lewis and Darby Camp but Teddy and Kate have their moments. Judah Lewis wasn’t great as Teddy but serviceable while Darby Camp was very cute and quite good in her role as Kate.

Of course, you have to have elves and here they are CGI generated versions that almost come off as Gremlin wannabees. They’re a bit cartoonish but it’s a movie about Santa, so it’s certainly allowed and acceptable. In fact, they’re given some fun lines here and there, so the end result works just fine.

I highly recommend The Christmas Chronicles for your Christmas viewing list as Kurt Russell is just a lot of fun to watch. The movie is currently available on Netflix, so if you already have a subscription, all you need to do is add it to your watch list. And stay tuned to the very end for a fun cameo appearance. Mrs. Claus knows everything!